This volume explores issues of black female identity through the various "imaginings" of the black female body in print and visual culture. Contributions emphasize the ways in which the black female body is framed and how black women (and their allies) have sought to write themselves back into social discourses on their terms.

Recovering the Black Female Body recognizes the pressing need to highlight through scholarship the vibrant energy of African American women's attempts to wrest control of the physical and symbolic construction of their bodies away from the distortions of others.

Traces the evolution of the black female body in the American imagination

In 1973, the year the women's movement won an important symbolic victory with Roe v. Wade, reports surfaced that twelve-year-old Minnie Lee Relf and her fourteen-year-old sister Mary Alice, the daughters of black Alabama farm hands, had been sterilized without their or their parents' knowledge or consent. Just as women's ability to control reproduction moved to the forefront of the feminist movement, the Relf sisters' plight stood as a reminder of the ways in which the movement's accomplishments had diverged sharply along racial lines. Thousands of forced sterilizations were performed on black women during this period, convincing activists in the Black Power, civil rights, and women's movements that they needed to address, pointedly, the racial injustices surrounding equal access to reproductive labor and intimate life in America. As horrific as the Relf tragedy was, it fit easily within a set of critical events within black women's sexual and reproductive history in America, which black feminists argue began with coerced reproduction and enforced child neglect in the period of enslavement. While reproductive rights activists and organizations, historians, and legal scholars have all begun to grapple with this history and its meaning, political theorists have yet to do so. Intimate Justice charts the long and still incomplete path to black female intimate freedom and equality--a path marked by infanticides, sexual terrorism, race riots, coerced sterilizations, and racially biased child removal policies. In order to challenge prevailing understandings of freedom and equality, Shatema Threadcraft considers the troubled status of black female intimate life during four moments: antebellum slavery, Reconstruction, the nadir, and the civil rights and women's movement eras. Taking up important and often overlooked aspects of the necessary conditions for justice, Threadcraft's book is a compelling challenge to the meaning of equality in American race and gender relations.

This book examines how African-American writers and visual artists interweave icon and inscription in order to re-present the black female body, traditionally rendered alien and inarticulate within Western discursive and visual systems. Brown considers how the writings of Toni Morrison, Gayl Jones, Paule Marshall, Edwidge Danticat, Jamaica Kincaid, Andrea Lee, Gloria Naylor, and Martha Southgate are bound to such contemporary, postmodern visual artists as Lorna Simpson, Carrie Mae Weems, Kara Walker, Betye Saar, and Faith Ringgold. While the artists and authors rely on radically different media—photos, collage, video, and assembled objects, as opposed to words and rhythm—both sets of intellectual activists insist on the primacy of the black aesthetic. Both assert artistic agency and cultural continuity in the face of the oppression, social transformation, and cultural multiplicity of the late twentieth and early twenty-first centuries. This book examines how African-American performative practices mediate the tension between the ostensibly de-racialized body politic and the hyper-racialized black, female body, reimagining the cultural and political ground that guides various articulations of American national belonging. Brown shows how and why black women writers and artists matter as agents of change, how and why the form and content of their works must be recognized and reconsidered in the increasingly frenzied arena of cultural production and political debate.

Examines how Black girls and women negotiate and resist dominant stereotypes in the context of an Afrocentric youth organization for at-risk girls in the Bay Area.

This book is an outgrowth of an international conference – The Black Body: Imagining, Writing, and Re(Reading) – held at DePaul University, Chicago in 2004. The various contributing authors critically examine the changing discourses on the black body to address how it has been constituted as a site for construction and maintenance of social and political power. Drawing examples from Europe, Africa, the United States as well as other places in the Black Diaspora, the subject matter in this book discusses the raced, gendered, classed and culturally produced discourses about the black body. Through its examination of these and related issues, this book contributes to a dialogue across various disciplines about the black body, its meanings and negotiations as read, interpreted, and imagined in different frames of perception and imagination. Print editions not for sale in Sub-Saharan Africa. This book is part of Routledge’s co-published series 30 Years of Democracy in South Africa, in collaboration with UNISA Press, which reflects on the past years of a democratic South Africa and assesses the future opportunities and challenges.

Kelley unearths freedom dreams in this exciting history of renegade intellectuals and artists of the African diaspora in the twentieth century. Focusing on the visions of activists from C. L. R. James to Aime Cesaire and Malcolm X, Kelley writes of the hope that Communism offered, the mindscapes of Surrealism, the transformative potential of radical feminism, and of the four-hundred-year-old dream of reparations for slavery and Jim Crow. From'the preeminent historian of black popular culture' (Cornel West), an inspiring work on the power of imagination to transform society.

Brazil markets itself as a racially mixed utopia. The United States prefers the term melting pot. Both nations have long used the image of the mulatta to push skewed cultural narratives. Highlighting the prevalence of mixed race women of African and European descent, the two countries claim to have perfected racial representation—all the while ignoring the racialization, hypersexualization, and white supremacy that the mulatta narrative creates. Jasmine Mitchell investigates the development and exploitation of the mulatta figure in Brazilian and U.S. popular culture. Drawing on a wide range of case studies, she analyzes policy debates and reveals the use of mixed-Black female celebrities as subjects of racial and gendered discussions. Mitchell also unveils the ways the media moralizes about the mulatta figure and uses her as an example of an ”acceptable” version of blackness that at once dreams of erasing undesirable blackness while maintaining the qualities that serve as outlets for interracial desire.

In Bodyminds Reimagined Sami Schalk traces how black women's speculative fiction complicates the understanding of bodyminds—the intertwinement of the mental and the physical—in the context of race, gender, and (dis)ability. Bridging black feminist theory with disability studies, Schalk demonstrates that this genre's political potential lies in the authors' creation of bodyminds that transcend reality's limitations. She reads (dis)ability in neo-slave narratives by Octavia Butler (Kindred) and Phyllis Alesia Perry (Stigmata) not only as representing the literal injuries suffered under slavery, but also as a metaphor for the legacy of racial violence. The fantasy worlds in works by N. K. Jemisin, Shawntelle Madison, and Nalo Hopkinson—where werewolves have obsessive-compulsive-disorder and blind demons can see magic—destabilize social categories and definitions of the human, calling into question the very nature of identity. In these texts, as well as in Butler’s Parable series, able-mindedness and able-bodiedness are socially constructed and upheld through racial and gendered norms. Outlining (dis)ability's centrality to speculative fiction, Schalk shows how these works open new social possibilities while changing conceptualizations of identity and oppression through nonrealist contexts.